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Poster: William Tell Date: Dec 12, 2007 8:32am
Forum: GratefulDead Subject: Earl's point, Jerry's sound...

Earl made this point below, and though I responded there, wanted to bring it up to get reactions from others...

Though I am fully imersed in the early era high energy speed and furry of Jerry, I have always thought that Jerry's greatness is perhaps more evident in the slow songs when afforded an opportunity to display perfect tone for the mood or moment. The ones I listed below have always been my favorites--here are a few examples:

M&BMcgee: even on Skull & Roses, Jerry hits just the right sorrowful notes during the solo.

Loser: especially noteworthy during the Fillmore version from 7-2-71; the intensity is just amazing, and the sound couldn't fit the darkness of that song any better than it does on this night.

DS: rarely one I would pick for this aspect, BUT the 9-19-70 version I am always going on about is another example of this sort--the quiet intensity, the note production when he is barely touching the strings during the last lull before the second set of lyrics is truly astounding.

I will say that this was what drew me to the DEAD, and is probably manifest more regularly during the 70s than I can appreciate. Stella Blue is of course, a great opportunity. Whatever the motivation (which was discussed below--the "why" of this phenomenon), it is the essence of Jerry's greatness for me.

I will never forget as a freshman in HS hearing a senior trying to explain to friends why the DEAD were so good, and how they couldn't understand why he didn't think Page or Clapton or whomever were so much better than Jerry, and he just kept saying: "note production, man, note production...no body can do what he can do!" I think I was the only one that had a feel for what he was getting at...

This post was modified by William Tell on 2007-12-12 16:32:42

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Poster: Earl B. Powell Date: Dec 12, 2007 8:43am
Forum: GratefulDead Subject: Re: Earl's point, Jerry's sound...

I think it goes even further in terms of the JGB versus Dead band lineup. First, slow music requires a much more significant degree of discipline in the rhythm section that Mickey never demonstrated well. If you look at the drummers that Jerry picked for JGB, these guys were on time, every time. It's also no accident that Billy K. toured with Jerry and did the studio stuff on the "Missing Digit" studio LP.

Second. Phil is and always has been a very busy bass player, supplying more notes than necessary on most tunes. John Kahn on the other hand, allowed Jerry a lot more sonic space and frequency room. It's also telling that Jerry loved the wash of a B3 to play off of on slow tunes, strictly for the aura.

I'd like to think that Jerry preferred playing slow, but then again, there is stuff in the catalog that suggests otherwise. like Big River. Always a counterpoint to every Dead arguement.

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Poster: mcgannahan Date: Dec 12, 2007 10:33pm
Forum: GratefulDead Subject: Re: Earl's point, Jerry's sound...

jerry was god, and let's leave it at that

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Poster: He Live's Date: Dec 12, 2007 8:34am
Forum: GratefulDead Subject: Re: Earl's point, Jerry's sound...

hey will....no big deal

and really...i always look forward to EBP's comments...but that was like the whole f*cking point of my post on STELLA below

like, you're aping my game son :>

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Poster: William Tell Date: Dec 12, 2007 9:58am
Forum: GratefulDead Subject: Re: HeLives first, Earl second, Jerry's sound...

Damn--my bad, Helives, my bad...have to admit, I treated some of your text as lyrics (har, har), and didn't realize til now that you were doing exactly that.

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Poster: He Live's Date: Dec 12, 2007 5:12pm
Forum: GratefulDead Subject: Re: HeLives first, Earl second, Jerry's sound...

no thing...it was early and i was already feeling a bit like chopped liver

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Poster: William Tell Date: Dec 12, 2007 5:15pm
Forum: GratefulDead Subject: Re: HeLives first, Earl second, Jerry's sound...

That's the thing about chopped liver: one man's gourmet feast and another man's chopped liver...

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